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A GAME OF COMEDY 



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Salter fTBTWER. &cq.1 

BOSTON 



COPYRIGHT, 1«8W. BY WALTER H BAKER * CO. 



A. W. PINERO'S PLAYS. 

Uniformly Bound in Stiff Paper Covers, 
Price, 50 cents each. 



The publication of the plays of this popular author, made feasible by the new 
Copyright Act, under which his valuable stage rights can be fully protected, 
enables us to offer to amateur actors a series of modern pieces of the highest 
class, all of which have met with distinguished success in the leading English 
and American theatres, and most of which are singularly well adapted for ama- 
teur performance. This publication was originally intended for the benefit of 
readers only, but the increasing demand for the plays for acting purposes has 
far outrun their merely literary success. With the idea of placing this excel- 
lent series within the reach of the largest possible number of amateur clubs, we 
have obtained authority to offer them for acting purposes at an author's roy- 
alty of 

Ten Dollars for Each Performance. 

This rate does not apply to prof essionai performances, for which terms will be 
made known on application. 



THE AMAZONS, j 



A Farcical Romance in Three Acts. By Arthur 
W. Pinero. Seven male and five female cbar- 
' acters. Costumes, modern; scenery, an exterior 
and an interior, not at all difficult. This admirable farce is too well known 
through its recent performance by the Lyceum Theatre Company, New York, to 
need description. It is especially recommended to young ladies' schools and 
colleges. (1895.) 



THE CABINET MINISTER. 



A Farce in Four Acts. By 
Arthur W;,Pinero. Ten male 

; . and nine female characters. 

Costumes, modern society ; scenery, three interiors. A very amusing piece, in- 
genious in construction, and brilliant in dialogue. (1892.) 



DANDY" DTOC I A Farce in Three Acts. By Arthur W. Pinero. 
J- ' -rvi ^- Ly x ^*>^ 1V » Seven male, four female characters. Costumes, mod- 
— —————— ————J ern ; scenery, two interiors. This very amusing piece 

was another success in the New York and Boston .theatres, and has been ex- 
tensively played from manuscript by amateurs, for whom it is in every respect 
suited. It provides an unusual number of capital character parts, is very funny, 
and an excellent acting piece. Plays two hours and a half. (1893.) 



THE HOBBY HORSE, 



A Comedy in Three Acts. By Arthdr 
W. Pinero. Ten male, five female char- 
^— — — — — — — ' acters. Scenery, two interiors and an ex- 
terior ; costumes, modern. This piece is best known in this country through the 
admirable performance of Mr. John Hare, who produced it in all the principal 
cities. Its story presents a clever satire -of false philanthropy, and is full of 
interest and humor. Well adapted for amateurs, by whom it has been success- 
fully acted. Plays two hours and a half. (1892.) 



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I 



LADY BOUNTIFUL. 



A Play in Four Acts. By Arthur 
Pinero. Eight male and seven female char- l|# 
acters. Costumes, modern ; scenery, four Vf 



interiors, not easy. A play of powerful sympathetic interest, a 'little sombre in 
key, but not unrelieved by humorous touches. (1892.) 



A Game of Comedy 



A Dramatic Sketch in One Act 



From the French 



By SHERWIN LAWRENCE COQK 



BOSTON 
WALTER H. BAKER & CO 

j 902 



A Game of Comedy 

CHARACTERS 

Anatole Fromont, (Lead), A Parisian Actor on a Pro- 
vincial Tour. 

Pierre, (Old Man), His Valet. 
Marie, (Ingenue), A Laundress. 



tt 



COSTUMES AND DESCRIPTION 



Anatole Fromont is about thirty-five years old. His face is strong 
and smoothly shaven, and his dark hair, just turning gray at the sides, is 
a trifle longer than that of a business man. He wears a fashionable frock 
coat and silk hat, and presents a figure which he knows is impressive. 
His manner is stately, and his air a bit grandiloquent. He takes him- 
self quite seriously. In other words, he is a successful actor. 

Marie is a girl of nineteen, graceful, light-haired, slim and with large 
blue eyes. She is dressed simply. Her manner is timid and she agrees 
wrthrFr<Smo4itJs,es{ii3iat^of hrm$e}f.; •;* 

: .P^e^ri^ is'^bvut |ix£}-, gray;ljefio>ed and rather shriveled. He is crusty 
but has a dry sense of humor. He believes in Fromont's ability and rather 
'e.njoys'ltfs'ifliesjntcj^cie's. •" • 



CONGRESS, 

lev- % ,r<***~ 

LASSjsVXc No, 



Zdrl, 



H 

COPY 8 




.Copyright, 1902, by Walter H. Baker & Co. 



A Game of Comedy. 



SCENE. — Fromont's apartment in Lyons. Door c. ; door 
up L. ; fireplace r. ; table and easy chair l. c. ; wood-bas- 
ket at fireplace ; books on table ; chest of drawers at right 
of c. D. ; china plaque on mantel over fireplace ; sharp steel 
paper-knife on table. 

(Curtain discovers Pierre setting things to rights.) 

Pierre. And now for his slippers. (Places slippers at fire.) 
M. Fromont will be in a rage when he comes home. Matinees 
always make him furious and provincial matinees are the worst 
of all. Mon Dieu ! but monsieur is a great artist ! I have 
been valet to Bisson, Malrivanch and Risel, but never with a 
man of such absolutely ungoverned temper as Anatole Fromont. 
O ! certainly monsieur is a great artist. 

Enter Marie, timidly. 

Marie. Monsieur has not returned ? 

Pierre. Goodness ! A woman ! 

Marie. Does not Monsieur Fromont live here ? 

Pierre. No, my girl. He and I exist here. We live only 
in Paris. 

Marie {aside). At last ! This is his room ! This is his 
chair ! Hamlet's chair — Romeo's chair — Le Cid's chair ! 
Ah! 

Pierre {aside). Humph ! At last Lyons becomes interest- 
ing. I smell an adventure. 

Marie. Tell me, does monsieur study here ? 

Pierre. At times. 

Marie. Do you think he will be long ? 

Pierre. He should be here now. 

Marie. Oh, do you think he will see me? 

Pierre. The chances are that if you stay there, and he 
hasn't become blind, he'll see you as soon as he passes that 
door. 



4 A GAME OF COMEDY. 

Marie. And will he speak to me ? 

Pierre. He will speak to me, at any rate. I can hear 
him. " Pierre, show this person out." 

Marie. 0, monsieur, not that ! No, no ! Monsieur 
Pierre, you must have seme influence with him. I must speak 
one word to him, only one. Dear M. Pierre, you do not know 
me, but I know you. Don't you remember me? I am the 
little sweetheart of your nephew Francois. 

Pierre. Ah, now I recollect your face. 

Marie. Will you not use your influence with him ? You 
can get him to speak to me. 

Pierre. Do you think I am his prime minister rather than 
his valet ? Besides I am afraid I should be doing Francois a 
bad turn. 

Marie {indignantly). Monsieur ! I am an honest woman ! 
{Pleadingly.) Ah, monsieur ! it means so much to me. M. 
Fromont can tell me if I will do. 

Pierre. Will do? 

Marie. Yes, monsieur. If I can act. 

Pierre. Heavens ! An aspirant ? 

Marie. It is so hard to work with one's hands all day long. 
And the francs come in slowly, O ! so slowly. 

Pierre {aside). M. Fromont gives no encouragement to 
stage-struck girls. Ah, I shall be doing Francois a good turn 
after all. {A voice outside, "Pardon, monsieur.'" Fromont, 
outside, answers "Blockhead.") He is coming. Go in there 
quickly. I will do what I can. [Exit, Marie l. 

Enter Fromont, c. 

Fromont. Pierre, mark my words, this is the last time 1 
ever play in Lyons. Write Despard that I won't play to-night, 
and that I go back to Paris to-morrow. 

Pierre. Surely monsieur does not 

Fromont {explosively). Surely monsieur does ! 

Pierre. But your engagement ! 

Fromont. But my engagement ? (/;/ anger.) Gods ! 
am I master of my fortune or are you ? Write to Despard i 
{Changing manner.) O, Pierre ! I never was so flouted in all 
my life. The house was packed, the atmosphere was insup- 
portable. Hundreds of dullards gaping at me. The only 
actors that were in touch with the audience were Osric and the 
grave-diggers. Their comedy, God save the mark ! was 



A GAME OF COMEDY. 5 

greeted with smirking satisfaction. The supreme soliloquy did 
not receive a hand. This put me on my mettle. I played the 
closet scene with all the fire of my soul in consequence. I was 
rewarded ! How ? These Lyonese bestowed upon me, grudg- 
ingly bestowed upon me, two curtain calls. Bah ! the life I 
put into that scene was worth a dozen in Paris. 

Pierre (slyly). I appreciate monsieur's feelings. 

Fromont. Yes, and what did I see blazoned on a sign on 
the Rue de Voltaire on my way home ? " Maurice Damas. 
Dramatic art taught in all branches. Five francs per lesson." 
Ye gods ! Taught ! Acting taught ! The brain cultivated 
for drama. Does the locomotive move by the power of the 
engineer's brain? No ! the living coals make it leap forward. 
The brain controls, but the fire of that iron heart is the power. 
Till that fire glows with life, the engine is a dead thing. So 
in our art. The impulse of the heart is the actor's inspiration. 
The brain may guide and control, but the power is here and 
here only. 

Pierre. Monsieur feels deeply. 

Fromont. And yet annually M. Damas will graduate a 
score of pupils who have paid their "five francs per lesson," 
who will smile complacently and say, — " Yes, thank you, I am 
an actor. I have M. Damas's diploma." Bah ! 

Pierre. Lyons is a dismal city, monsieur. 

Fromont. Yet not altogether uninteresting. Pierre, I saw 
a face to-day. 

Pierre. Impossible ! 

Fromont. As I was driving to the theatre in the midst of a 
crowd of prosaic provincials, I saw a slip of a girl. She was a 
slender, graceful peasant, and she had eyes, Pierre, eyes ! 

Pierre. Most people do, monsieur. 

Fromont. But not eyes like those. There was a soul be- 
hind them, Pierre, a soul. She melted away in the throng 
quickly enough, but I should like to see her again. I would 
almost repeat this afternoon to do it. But write that letter, 
Pierre. 

Pierre (as he goes out). Yes, certainly, monsieur is a great 
artist. \_Exit Pierre. 

Fromont (goes to table, pours wine from decanter to glass). 
To the eyes of the unknown ! ( Gets a book and sits down ; 
Marie e?iters l., unobserved. Fromont senses the presence of 
a second person.) Pierre, bring me my Coriolanus. Do you 
hear? (Pauses.) Blockhead! are you dumb? (Throws 



6 A GAME OF COMEDY. 

book towards her, then turns around.) My eyes ! Pardon 
me, mademoiselle, I thought it was my stupid servant. Can 
Anatole Fromont be of service to you ? 

Marie. Your valet, M. Pierre, was doubtful of my reception. 

Fromont. I am an uncertain character, mademoiselle, but 
the thunder shower is over, the sunshine has entered, the at- 
mosphere is clear. 

Marie. I'm afraid you will think me forward in coming 
here. I hardly dared to, myself, but I wanted to ask you 
something. 

Fromont (aside). Have I been mimicking love all these 
years to know it in three short minutes. O no, Fromont, you 
are not such a fool as all that ! 

Marie {embarrassed). I know, monsieur, I am very bold, 
but I want to ask you if you think, in time, — after years, you 
know, — if you think I ever could, you know, become clever 
enough to — to — to — O, monsieur ! I want to be an actress. 

Fromont (aside). It is destiny ! She wants to be an 
actress! (To her.) Mademoiselle, when I look into your 
face I am sure that heaven could not deny you anything. 
(Aside.) She shall act; she must act ! 

Marie. All my life I have longed to become a player. 
Then I saw you play Hernani. That decided me. 

Fromont. Allow me to ask, mademoiselle, whether you 
wish to be a comedienne or to play tragedy. 

Marie. It must be a fine thing to make every one happy 
and contented, and to make them laugh and forget their 
troubles, but I would rather have them sorry for me and make 
them sympathize with me. I think I should rather play 
tragedy. 

Fromont. Well, if you have the fire which belongs to the 
true artist I will take you into my company and develop it my- 
self. 

Marie. O, monsieur ! You overpower me. I never dared 
hope so much. Indeed I did not ! 

Fromont. But you must let me judge of your talent, 
and abide by my decision; and above all, keep away from M. 
Damas ! There are so many actors now who have not the 
right to the name, that their example is a solemn warning 
against bringing out incompetents. (Up stage.) 

Marie. Shall I read to you? 

Fromont. No ! That is not a true test. Let me see. I 
have it ! You are a little Parisian milliner. 



A GAME OF COMEDY. 7 

Marie. No, monsieur ! A laundress. 

Fromont. No, no, no ! A milliner. 

Marie. I, monsieur ? 

Fromont. Yes, in an impromptu play. You come home 
after a hard day's work, impatient for the outing your husband 
has promised you. You enter with a song on your lips. Here 
is the cradle, with your baby. {Bringing wood-basket.} Here is 
the table laid for supper (arra?tges table ornaments , plaque, etc., 
then tears a leaf from a book and folds it) and here — here is a 
note. Your husband, Jacques, whom you love ah ! so much, 
has left it. He has gone away forever with the little seamstress 
down-stairs. Go out, come in, and play this little drama. 

Marie. I hardly know what to do, monsieur, but I will 
try. {Exit and immediate entrance.) Don't you think the 
little milliner would faint ? 

Fromont. That is certainly among the possibilities. 

Marie. Then I shall faint. (Exit ; enter.) O, I forgot 
to sing. {Exit; enter.) La, la, la, la, la. {Without ex- 
pression.) Home at last. How tired I am. Where can 
Jacques be ? Ah ! here is a note. O God ! O God ! ( Gro- 
tesque faint.) How did you like that? 

Fromont (aside). Poor little girl! {Aloud.) There is 
more fault in the interpretation than in the conception. 
{Aside.) How can I tell her? Ah, there is a kinder way. 
Words would be too cruel. {Aloud.) Mademoiselle, will you 
permit me to show you more plainly than I could in words just 
what my suggestion meant ? Let us reverse the case. The 
husband, a sturdy carpenter, comes home. His wife, Marie, 
has gone away with Henri the clerk of the grocery around the 
corner. Watch me. (Exit and enter.) Whew ! What a 
run I've had of it! Up four flights of stairs, too. To tell 
Marie the news, and she's not come home yet. (To wood-box.) 
Ah, but her Majesty is at home ! Bless her. Oh, you're 
awake, are you, princess? No, your prime minister hasn't got 
back from the shop yet, I am only an humble subject under the 
sway of the two sweetest tyrants that ever ruled a man. (Busi- 
ness at box ad lib.) Well, if mamma doesn't come in pretty 
soon, my news won't keep (c.) and I'll have to go down to the 
grocery and tell Henri all about it. There's a friend for a 
man ! Ah ! but when Marie comes home, looking forward to 
our walk on the quay, may be I won't surprise her ! To think 
that old Brisemouch should retire and leave me master carpen- 
ter, and not tell me a word till the thing was done ! (At mi?-ror 



8 A GAME OF COMEDY. 

over mantel.') Jacques, you're a master carpenter ! do you 
know what that means? It means that Marie won't do any 
more work for old M. Bobose. It means that her Majesty in 
the cradle, will have a mother all the time instead of after 
hours, and kind neighbors for the rest. It means that we'll 
be two flights nearer the street next month. It means that 
what we've been toiling for all these years, little wife, you and 
I, has come at last. Well, I hope that Marie is kept long 
enough. Probably some crabbed old dowager must have her 
new bonnet for church to-morrow, never mindful of the tired 
little fingers that must work, work, work, all day long and stay 
late for her Sunday bonnet. Well, I'll talk to Babette in the 
cradle till in pops mamma. {Back to box.) Have you heard 
what I've been saying, Gipsy ? That's right, open your eyes 
and look at your worthless old papa. How you do grow like 
the dearest woman in the universe. Yes, you'll be a big girl 
pretty soon, and bring the sunshine into my life, just like your 
mother; and when I feel that I can't live without you, you'll 
fall in love, just like your mother, and go out and marry some 
worthless good-for-nothing, just like your father. Well, I 
guess I'll light a pipe, if your supreme ladyship will allow me. 
Yes ? Thanks. Hello, here are my slippers. Ready for my 
feet. So she has been here and gone. Where, I wonder ? O, 
to one of those eternal customers to deliver a bonnet of course. 
And the table's laid. Laid for one and only one. Well, I 
like that ! Did she suppose I would eat before she came home ? 
Ah, and a little folded note too. Dear little note, and dear 
hand that penned you ! Well, let's see what you say. Ha ! 
ha ! ha! ha ! ha ! ha ! etc. So you're playing me a joke, are 
you, little woman? "My heart bleeds to give you pain. We 
have waited too long for prosperity. I cannot live like this 
forever. Poverty is too dull. My happiness is stale. I have 
gone away with Henri. Don't blame him. Forgive me when 
you can. Be good to baby." But, really, that isn't a kind 
joke exactly. It might worry some people; but me, never. 
Oh no ! I'm not such a fool. All the same, I wish Marie hadn't 
written it. How loud the clock ticks. Faugh ! I believe that 
letter has given me the blue devils. Jove ! the fire is down. 
Baby will be cold. I'll get some wood down-stairs, but, in the 
meantime I'll trot into our closet and get you a nice warm 
comforter. {Exit and entrance.) My God ! Then it is true. 
The letter is all true. All the trinkets, all the pretty dresses, 
everything gone ! only a ribbon left. (He picks up the note 



A GAME OF COMEDY. 9 

and reads again.) "My heart bleeds to give you pain. We 
have waited too long for prosperity. I cannot live like this 
forever. Poverty is too dull. I have gone away with Henri. 
Don't blame him. Forgive me when you can. Be good to 
baby." May the curse of Heaven rest on them ! No, no ! I 
don't mean that. Not on her. I loved her, I — I — God pity 
me ! I love her now. But him. Curses on him ! A hundred 
thousand curses on him ! My friend, my smiling, courteous, 
devilish friend ! Did he think, artisan though I be, that he 
could do this and live? I'll hunt them down and kill him like 
the hound he is. Stay, let him live. His treachery will poison 
his peace. I know him. He can't be happy long. i\y, let 
him live and suffer. But for me? What for me? Desola- 
tion, dissipation? No, I'll not let the world flout me when 
there is an easy way out. {Sees dining knife on table.') How 
sharp it is. {Holds it before him, then looks towards cradle ; 
lets his arm drop.) God ! I had forgotten you. I'll live, 
live for my baby. {Kneels at basket ; throws knife away, 
with sobs which turn to laughter as he rises.) Your servant, 
mademoiselle. 

Marie {dries her eyes). Monsieur, I have learned my lesson. 
I thank you. 

Fromont. My child, you need not thank me. I have only 
tried to show you an unpleasant truth in a kinder way than 
words permit. 

Marie. I shall never think that I can act again. 

Fromont. Remember there is more in truth than in mock- 
ery, more in life than in imitation, more in love than in mimicry. 
Put aside your thought of the shadow. Merge yourself in the 
substance. Glow in the reality of life, of truth, of love. 

Marie. Yes, monsieur. I will go back to my love. My 
Francois. 

Fromont {starts slightly; aside). A phantom vanished. A 
bubble burst. 

Marie. Adieu, monsieur. 

Fromont. One moment, mademoiselle. I am going to 
ask you to do me a great favor. 

Marie. If I can. 

Fromont {going to drawer and bringing down a bracelet). 
This trinket is one of my relics of a dearly loved mother. I 
ask you to keep it, and sometimes to think of a desolate actor 
whose life you brightened for half an hour. 

Marie. O monsieur^ how beautiful ! A thousand, thousand 



10 A GAME OF COMEDY. 

thanks ! How happy Francois would be to thank you too ! 
Adieu. 

(As she goes out she drops a rose which he picks up and 
plays with.) 

Enter Pierre. 

Fromont. Back from the substance into the shadow. So 
it goes on, nothing to regard, nothing to love. 

Pierre. You have Pierre. 

Fromont {drily). True, Pierre, I have you, of course. 

Pierre. And monsieur has his art. 

Fromont. My art ! Yes ! Pierre, you need not send 
that letter. I will act to-night, and Gad ! I'll make those 
parvenus applaud ! 

CURTAIN. 



% 



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THREE NOVELTIES. 



THE 

Story of a Famous Wedding. 

cAn Outline Sketch for cMusic and 'Dancing* 
By EVELYN GREENLEAF SUTHERLAND 

This excellent sketch, admirably suited for the use of Colonial societies, 
Daughters of the Revolution, and so on, was originally produced at the Boston 
Theatre, April 10th, 1899, in connection with the pageant " Our New England." 
It is for six male and four female characters. The period is 1760. The scene 
is the drawing room of Gov. Went worth, Portsmouth, ]S T . H., the costumes of 
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less, according to interpolations. 

PRICE 25 CENTS. 



IN AUNT CHLOE'S CABIN. 

<A cNggro Comedy Sketch in One Scene* 
By EVELYN GREENLEAF SUTHERLAND. 

A valuable addition to the small list of pieces available for female min- 
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by the Woman's Professional League, of New York City, at their famous " All 
Woman's " Minstrel Show. Seventeen characters are called for beside " supers," 
but this number can be slightly abated by a few changes. Full of humor and 
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PRICE 25 CENTS. 



A Quilting Party in the Thirties. 

<An Outline Sketch for cMusic, in One Scene* 
By EVELYN GREENLEAF SUTHERLAND. 

A pretty and picturesque sketch of New England rural life in 1830, originally 
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Theater, April 10th, 1899. An admirable picture of the life of its period, with 
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THF MAfTT^TR ATF \ A Farce in Three Acts. By Arthur W. 
1 rXC lV-LttAJlO 1 I\A 1 -C* | PliNER0 . Twelve male, four female char- 

~— —"— —————— -———^— — — acters. Costumes, modern ; scenery, all 

interior. The merits of this excellent and amusing piece, one of the most popu- 
lar of its author's plays, are well attested by long and repeated runs in the 
principal American theatres. It is of the highest class of dramatic writing, and 
is uproariously funny, and at the same time unexceptionable in tone. Its entire 
suitability for amateur performance has been shown by hundreds of such pro- 
ductions from manuscript during the past three years. Plays two hours and 
a half. (1892.) 

THE NOTORIOUS 
MRS. EBBSMITH. 



A Drama in Four Acts. By Arthur W. 
Pinero. Eight male and five female charac- 
ters; scenery, all interiors. This is a "prob- 
lem " play continuing the series to which " The 
Profligate " and "The Second M rs. Tanqueray" 
v belong, and while strongly dramatic, and intensely interesting is not suited for 
amateur performance. It is recommended for Beading Clubs. (1895.) 



THE PROFLIGATE. 



A Play in Four Acts. By Arthur "W. Pine- 
RO. Seven male and five female characters. 
Scenery, three interiors, rather elaborate ; 
costumes, modern. This is a piece of serious interest, powerfully dramatic in 
movement, and tragic in its event. An admirable play, but not suited for ama- 
teur performance. (1892.) 



THE SCHOOLMISTRESS. 



A Farce in Three Acts. By Arthur 
W. Pinero. Nine male, seven fe- 
male characters. Costumes, mod- 
ern ; scenery, three interiors, easily arranged. This ingenious and laughable 
farce was played by Miss Rosina Vokes during her last season in America with 
great success. Its plot is amusing, its action rapid and full of incident, its dia- 
logue brilliant, and its scheme of character especially rich in quaint and humor- 
ous types. The Hon. Vere Queckett and Peggy are especially strong. The piece 
is in all respects suitable for amateurs. (1894.) 



THE SECOND 
MRS. TANQUERAY. 



A Play in Four Acts. By Arthur W. 
Pinero. Eight male and five female char- 
acters. Costumes, modern ; scenery, three 
interiors. This well-known and powerful 
play is not well suited for amateur per- 
formance. It is offered to Mr. Pinero's admirers among the reading public in 
answer to the demand which its wide discussion as an acted play has created. 
(1894.) Also in Cloth, $1.00. 



SWEET LAVENDER. 



A Comedy in Three Acts. By Arthur 
W. Pinero. Seven male and four female 
characters. Scene, a single interior, the 
same for all three acts; costumes, modern and fashionable. This well known 
and popular piece is admirably suited to amateur players, by whom it has been 
often given during the last few years. Its story is strongly sympathetic, and its 
comedy interest abundant and strong. (1893.) 



THE TIMES. | 



A Comedy in Four Acts. By Arthur "W. Ptnero. Six 
male and seven female characters. Scene, a single ele- 
gant interior; costumes, modern and fashionable. An 

entertaining piece, of strong dramatic interest and admirable satirical humor. 

(1892.) 



THE WEAKER SEX. [ 



A Comedy in Three Acts. By Arthur 
W. Pinero. Eight male and eight female 
characters. Costumes, modern ; scenery, 
two interiors, not difficult. This very amusing comedy was a popular feature of 
the renertoire of Mr. and Mrs. Kendal in this country. It presents a plot of 
strong dramatic interest, and its incidental satire of " Woman's Rights" em- 

Flovs some admirably humorous characters, and inspires many very clever lines, 
ts leading characters are unusually even in strength and prominence, which 
makes it a very satisfactory piece for amateurs. (1894.) 



"n«nr u|- 



CONGRESS 



018 602 748 6 

J The; Plays of Henrik Ibsen. J 

/A Edited, with Critical and Biographical Introduction, ji\ 
/|\ by EDMUND GOSSE /j\ 

^K This series is offered to meet a growing demand for the plays of this well- "Xt 

fjjS abused and hotly-discussed writer, whose influence over the contemporary drama fj\ 

/4V * s enormous even if his vogue in the American theatre be still regrettably ilV 

itki. small# Tl ie se plays are intended for the reading public, but are recommended ^,v 

f m jjy for the use of literary societies and reading clubs, and somewhat diffidently w,fy 

/i\ suggested to dramatic clubs, as providing unconventional but vigorously acta- >|i 

Jki. ^ le matei 'i a l- As a dramatist Ibsen is absolutely " actor-tight," and has written ^V 

fjjy more successful parts and inspired more " hits " than any of his more popular *fy 

i|V contemporaries. This edition is printed in large, clear type, well suited for the i|V 

"fit use of reading clubs. The following titles are ready. ^v 

ik\ A DOT 1 f< \ T-TOTT^F I A Play in Three Acts. Translated by Wil- jk\ 
™ ■ L/WA ^- U ° "V^'JCn. | lumAecher. Three male, four female char- TO 

iAV ~~ "~ ~~ —~— —~ "~ ~"~ acters, and three children. Price, 25 cents. /AV 

& THE PILLARS OF SOCIETY. I k^edV^S <ft 

/A\ Archer. Ten male, nine /it 

•If j* female characters. Price, 25 cents, *? ; 

M' Cir-TO^T^ I A Drama in Three Acts. Translated by William Vr 
k | J VJX ■ LV - fk -' ■»■ *-»♦ Archer. Three male, two female characters. klif 

W ' Price, 25 cents. W 

*»' "Rri^MFT?^"HOT M I A Drama in Four Acts. Translated by M. W 
il> •^^^ iVJ - CJ ^^- ri ^ i - iV1 * Carmichael. Four male, two female charac- l|/ 
Mf ' ters. Price, 25 cents. W 

$ THE LADY FRO M THE SEA. | ^^cflX&S: 3> 

1 Five male, three female ;»* 
characters. Price, 25 cents, ili 

AN ENEMY OF SOCIETY. | &«^$I^VS;r ty 

f 1 ' Nine male, two female charac- tji 

ters. Price, 25 cents. >Jf 

y TT4T? \X7TT F* T>T TOT I A Drama in Five Acts. Translated by E. Vf 
41/ 1 - rLC W1J-1/ l^UVJ^* M A velinq. Twelve male, three female \l/ 
jjf ' characters. Price, 25 cents. :J* 

' "' THE YOUNG MEN'S LEAGUE. I ^J2J J^- B 4S5 J / 

I Carstarphen. Twelve ;'■ 

male, six female characters. Price, 25 cents. \Xi 

fT-TFTYHA (^ ART FT? I A Drama in Four Acts. Translated by \\i 
rUHJLJI\ \Jl\DLJm* Edmund Gossb. Three male, four female W 
ylW ' characters. Price, 50 cents, ywjt 

W THE MASTER BUILDER.! L%tJ &2ZSSlZZ s kJ™Z f 

t|j ' liam Archer. Four malr *hree ili 

Vf female characters. Price, 50 cents. W 



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